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♪ The Last Hope - Daniel H. ♪
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Dylan: I didn't go to film school because
a number of reasons
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the most important being
the same day I was supposed to sign my student loan papers
I was offered a job at Troma
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I was sitting there in front of the student loan papers
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I was like it's either I go to college or a take a job at Troma
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and I look at the papers and I'm just like
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Man what the fuck am I going to do
Like, do I... I literally have to make the decision like right now
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I was like you know what? I just got offered a job in my field today
And I think I'm just gonna do that
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♪ Dylan Mars and Vandal Moon - Dark Dancer ♪
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♪ Sometimes I wake up wishing I was someone else ♪
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♪ Someone who lives in a house by a tree and a stream ♪
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Dylan: I'm here on the set of Shakespeare's Shitstorm
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This is a movie that is being directed by Lloyd Kaufman
who directed the cult hits
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Toxic Avenger and Class of Nuke 'Em High
which were huge and massively influential cult horror films made in the 1980s
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And this was from his own production company called Troma
which is the same production company that will be distributing this
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Troma launched the careers of Trey Parker and Matt Stone who created South Park
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Uh, James Gunn who directed Guardians of the Galaxy
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Uh, Vincent D'Onofrio who starred in The Cell and Adventures in Babysitting and Full Metal Jacket
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and a host of many other incredible performers and writers and directors
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So I am in the principal cast which I am really excited about
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I play Trinny. An obnoxious social justice activist who's concern for petty issues often trumps
her common sense and causes disaster and chaos for many of the other film's characters.
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The film itself is a contemporary adaptation of William Shakespeare's The Tempest
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and I think it's probably the most obscene version of The Tempest ever made.
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Lloyd: This is the movie that Dylan is in
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Return to Return to Nuke 'Em High Aka Vol. 2.
She did a lot of the CGI and editing on it.
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Amazing Stuff.
Putting my head on the body of a 21-year-old star of Class of Nuke 'Em High a 1986 classic of Troma.
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I was extremely impressed because she was about 13 or 15 or whatever
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making her own damn movie
and making a feature-length movie and wanted me to play a cameo in her film
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We were down in the basement of the Troma building
and she was doing the lighting, the sound,
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also doing shots that were going to be green-screened CGI
and I was pretty impressed from the start
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Dylan: So Lloyd is going to show me a scene that we shot in Albania where a whale jumps over the boat and shits on me
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but I have never seen it with the actual CGI of the whale jumping
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Lloyd: It's only a piece of it
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Dylan: It's only a piece but I'm excited to see that little piece
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Debbie: I haven't been in a scene with Dylan but I feel like if I was in a scene with Dylan
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I would have to
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up my game to be on the same level as Dylan
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because he gives 110% even with 90% is required and preferred
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he will give 110 to 150% to the point where Lloyd says "You can come down a little bit"
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Rocko: Well my first impression of Dylan uh well it all started when I went to Tromaville
I went to Troma HQ some odd years ago
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just to come and visit as a Troma fan and Dylan was working there
And I met Dylan
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I believe she was just editing some promo
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and she seemed like a really interesting kooky character and so I wanted to stay in contact
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and being the really obnoxious networker that I am I friended her on Facebook
and kept in contact and bugged her afterward
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She seemed like a really cool and motivated, hard-working, progressive filmmaker so instantly someone I wanted to be
friends with
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♫ Dylan Mars - Mia ♫
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Dylan: Today I am in Union Square Park where I spent much of my adolescence
I went to high school fairly close to here
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and after school, I would often hang out here
because I kinda had nowhere else to go
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and would sometimes stay here for hours and hours
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I would sleep here sometimes. I um, I learned a lot here.
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I'm excited to be shooting a scene for my own film in this park because it means a lot to me.
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Today I am shooting a scene for my feature film Spirit Riser
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in which the statue of liberty attacks New York and I have some people coming to play New Yorkers.
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Most of them are New Yorkers.
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And they are running away from the Statue of Liberty in fear.
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Now what I hope to achieve from this is that hopefully, people on the street will want to also participate
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As I have been able to achieve in the past
And is kinda what I'm all about is getting people to kind of participate and hopefully that will happen today.
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I have shot in public parks
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I have shot on a lot of boardwalks
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I have shot in spaces that were not solely for just making my film
for instance, I shot in the back of a flee market once
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And those are often the tools that are available to me
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And sometimes it kind of a gamble because it is genuinely difficult to shoot in public
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I can't say I love doing it but simply put I gotta.
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♫ Dylan Mars - Heartfantasy1992 ♫
♪ My soul is for the taking ♪
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♪ My heart is for my love ♪
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♪ And if you were to take it ♪
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♪ Then I have had enough ♪
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I walk the fine line between perceiving me as male
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between people perceiving me as female
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and between people seeing me as something totally different
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So in some cases,
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I feel like I'm able to sort of slide into conversations with other men
With certain ease
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because I'm able to lower my voice and sort of talk like this
and I can sort of you know just kind of laugh and you know to be a character
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and if you really squint then you can see me as one of the guys but I'm just wearing a dress and makeup you know?
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But in the other hand,
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I'm seen as sort of an “other”
and I'm seen as sort of this swish or this homosexual that's sort of one of the girls
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And when I'm perceived like that it really depends on the inflection of my voice or how I'm dressed in a day
or sometimes-
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♫ Dawn - Daniel H ♫
just the way I'm acting because I think sometimes I take on different characters or different identities depending on how I feel
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Then suddenly I'm sort of excluded from those conversations often sometimes by the same people who included me the day before
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And sometimes I'm perceived as predatory
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because I'm seen as someone who is trying to infiltrate a woman's space
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because I'm seen as something other than a woman and the problem is that
any space that I'm in I'm technically infiltrating
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Dylan: In God's word I say is that we love one another
God's word is that we love each other
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Woman: *indistinct screaming* ...Jesus is righteous
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Dylan: You don't really love me is the thing
You don't love me
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Other woman: *Agressivley* I love you
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Woman: *indistinct chattering* ...in the name of Jesus
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Dylan: That's not love
Woman: Dylan is a boy
Dylan is a boy
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Dylan: I love you for who you are not who I want you to be
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Woman: *screaming* This is a man
He is not a woman
He is not to be identified as a woman
He is a boy in the name of Jesus
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Dylan: *sarcastically* For sure
Woman: He is a man in the name of Jesus
Dylan: But that's like objectively not true is the thing
Woman: *screaming* That's what it is
I'm gonna shout it how it is
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Dylan: Okay
Woman: *shouting* Call the cops
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When you're like this and you're doing the sort of things that I'm doing
It's hard to really find a sense of belonging
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because you're sort of just caught in the middle between all of these different worlds
and I wonder do I feel like this because of who I am?
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or do I just feel like this because I'm just sort of a different person?
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and it definitely is a challenge and I hope that one day I'll feel like I do belong somewhere
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but sometimes I just wonder if this is all because of my identity or just because of my personality
or maybe a combination of both
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Hey guys um welcome to my room
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Uh my name is Dylan Greenberg and today we're gonna be in my room
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So here we are in my room
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Um and I just wanna thank everyone for coming to my room
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and so thank you guys for coming to my room
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and here we are in my room
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Here is the bathtub.
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It's a miniature bathtub that we made for a short film that we just wrapped production on but is in post now
it's called The Bathtub
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But this is a little paper cutout of Bob Burch from Sonic Youth and he's the star of the movie
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and here he is riding in the bathtub and we also had a full-size bathtub that we had on a green screen
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but this is for the miniature shots and we used different versions of Bob
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This is a machine gun prop I've been using in things since I was pretty young
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This is a Spanish poster of my movie Dark Prism which I'm very proud of
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This movie showed in the Canary Islands and I got to go to the Canary Islands which was really cool
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They showed it in a multiplex in the Canary Islands
which is the only time my movie has... any of my movies have been shown in a real
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uh like multiplex theatre
like a big-time movie theatre
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This is a picture of me when I was interviewed for New York Waste Magazine
which is a pretty legendary punk magazine in New York City
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I was interviewed by the really cool rock photographer Robert Butcher
He took these awesome beautiful pictures of me
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It was for the 20th anniversary of New York Waste and I was turning 20 at the same time
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So it just felt really special to me because it was like me and the magazine were both turning 20
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My friend Amanda is in there and uh that's me
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and I have a vagina here um and I also have tits
way bigger-
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I do have tits in real life but these are pretty big
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So Dwayne draws erotic art of me and my friends
Um, I didn't like ask him to he just like kinda does it as I guess like a free service?
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♫ Slight Chance of Rain - PORT RGB ♫
This is a book that my late friend George gave me
This is also George's necklace
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George was a friend of mine who meant a great deal to me
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He gave me this book because he knew that I really really loved Leigh Bowery
who was an incredible British performance artist and he gave me this for my birthday
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Since I can't really make these outfits like I can't really dress like this
Because I don't really have the skills and it's not necessarily what I wanna maybe do per se
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I sort of want... My goal is to kind of make my films and my art to look like this
as opposed to making myself look like this which is what Leigh Bowery did
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I really am attracted to this sort of aesthetic in my own art
So I think in that way he's influenced what I do
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*Dylan's father crosses the hallway*
Dylan: Oh Hello?
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Dad: Hey
Dylan: Oh Hi Dad
Dad: Sorry
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Dylan: Hey guys it's my famous dad
Camera B: Hi
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Dylan: Out and about... um, my famous dad is out and about.
Um TMZ... CBS... All-day. Hot off the press
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♫ Paper Clip Architect ♫
This is a New York Times Magazine that I was in when I was maybe about 16
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I would perform with this giant fake guitar that had a label on it that says "This is a fake guitar"
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and then I would flip it over and it would turn into a keyboard and it would say "This is a fake keyboard"
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I had been making films before but this is kind of what brought me into making the kind of films I make now
was performance art
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because my films basically were in the beginning video performance art
that end up more drifting towards the horror film genre
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as time progressed.
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So speaking of film, my first ever feature film was called Glamarus
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and it was about 70 minutes long
and it's basically 70 minutes of performance art
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its basically various people doing performance art
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There isn't a like linear plot or anything that holds it together
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And its all kind of connected by this weird doll
which actually is right here
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This is the doll that started it all. She was the star of my first movie.
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This is Sardine.
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This is my movie Wakers which was my second feature film
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and this was sort of my bridge kind of between making a coherent feature and making a performance art film
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So there are shots that maybe go on for 3 or 4 minutes
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It's very abstract.
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I think the right people sort of understood it as a linear film
and then some people sort of were like
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no this is like straight up like something that should be projected like on a wall
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This is Shock Treatment which is one of my favorite movies of all time
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its the sequel some call it the equal to Rocky Horror
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And so instead of focusing on heterosexual fear of queer culture
it focuses on outsider fear of heterosexual and conformist culture
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The end of Wakers was very inspired by Shock Treatment
I sort of had the end of it suddenly become this very bright colorful sitcom
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This was constructed by uh an effects genius named Evan Para
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He made this from a very crude picture I drew for him
And he made it himself and it's obviously very phallic
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And some people think he's really cute and other people think he's really gross
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and I think he's both
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♫ Computer Plastic - PORT RGB ♫
Over here is a TV that I painted. I hand-painted this when I was maybe about 16 or 17
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And I have since used it in every feature film I have made to this day
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Its called the Boob Toob
And I've actually used it in video installations as well
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It's a working Hitachi television from the 80s and its covered in these like very psychedelic designs
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and I also made
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kind of damaged now
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but this is the Boob Toob Jr.
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Which is the same thing but smaller
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We projected onto the screen and we had a hand back here
and we pushed the hand through the screen
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and so it bent the projection and it looked like TV was actually expanding
and the screen was pushed out
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This is a VHS of The Very Hungry Caterpillar and other stories by Eric Carle
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The Very Hungry Caterpillar to this day is my favorite uh book of all time
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The Hungry Caterpillar is incredible and can do anything
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And made me unafraid to be myself
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I fucking love the Very Hungry Caterpillar
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I would kill for the Very Hungry Caterpillar
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I actually I really love the Very Hungry Caterpillar
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I like collect Very Hungry Caterpillar like toys
I'm like obsessed with this thing
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It's so weird just look at it
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It's so weird it's like a weird like a long bunny
It's like a bunny that like its like a tube
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Isn't that so grand?
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Imagine being like a rabbit but also a tube
That's what a caterpillar is
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♫ Dylan Mars - Colossus ♫
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I started stop motion animating when I was about 9 or 10
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And I was doing stuff just like this
Stop motion animating in front of a computer screen
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Of course, now I have much nicer models being built
beyond that, not much has changed
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I am pretty much still using the same method of combining live actors with stop motion
because it works so well
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I do that and then I mix it up with a blue screen and green screen
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The computer monitor actually gives this sort of old looking feel to the film
that I kinda like
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It gives it this nostalgia element because it looks like a projection
and in a way, it sort of integrates it more with the image because its actually happening live in front of it
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you don't see any lines or anything between the model and the subject
because they actually are in the same shot together essentially.
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Well last night there was some sort of CO2 leak in my house and um National Grid was called
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I had to leave my house for a while. I was worried about our pets.
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I uh ended up shutting off all the heat and so
I slept in the freezing cold
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and this morning uh I took a shower in uh freezing cold water
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and now we're going to set and um I'm a little nervous because our lead actress is uh...
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I can't seem to get a hold of her
but let's see hopefully things will turn around for Dylan Mars Greenberg today
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We're gonna shoot no matter what
the show must go on
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if they don't show up I'll just shoot something else without them
that's what I've been doing that's what I will do
that's pretty much what I almost always do
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I uh... I don't cancel
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i'll do something else
i'll rewrite or i'll rework
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we don't even have a script today so fucking anything goes
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♫ I Want to Live! - Korpx ♫
Ah, and that is the light at the end of the tunnel.
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...reach your arm out very slowly.
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Great! and Cut.
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Have your feet already out like actually put yourself in this position and then just yeah go like that right?
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So kinda like like like re like
hold that and just like like snap yeah into this.
Exactly.
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Action.
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Oh, that's the best one!
Do that one more time it was so good.
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Action.
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Yeah, that's awesome.
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Yeah! Perfect.
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♫
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Action
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Alright. Okay cool.
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Kansas: I was running so slow
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Dylan: You were running so slow?
Kansas: Yeah
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Dylan: You can't really tell.
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Actually, a trick is when you shoot from a low angle with a wide-angle lens it makes everything look fast
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Kansas: I know... It looks cool.
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Dylan: Action Kansas
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No no no no no
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Kansas: What?
Dylan: Okay let me show you what I want you to do okay?
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So I'm standing right here, right?
Kansas: Uh-huh
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Dylan: I want you to run like... to like here so your shoulder is touching here almost
and like look behind you so that you face is like right... this is a wide-angle
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Kansas: Oh sorry I thought you were going to follow me
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Dylan: No
Kansas: Okay okay so I'll stop here
Dylan: Okay? Cool.
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Action.
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Yeah.
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Go, Hannah.
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Oh, that's fucking awesome.
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and cut. Cool.
Does anyone happen to have a phone with a flashlight?
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♫ Computer Plastic - PORT RGB ♫
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Action.
Oh my god.
Okay, now duck.
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Great. Beautiful.
Let's do the alien thing with the vape.
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It looks so good on camera but like it's too dark.
Maybe we'll have to shoot this way.
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Lean in to like that machine.. like step forward and put your head against it like facing... yeah.
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Kansas you have to be like this like
Do you know? Like shaking?
And you have to lean in way closer
Hannah: Okay
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Dylan: And a little slower
Lean in like you're right in Kansas's face
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like uncomfortably like super close like nose to nose and then you can blow the vape smoke okay?
Hannah: Uh-huh
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Dylan: Lean in really close. Really close! and go.
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*laughing* this time we're gonna blow so much vape smoke in your face you're gonna die
Hannah: I'm so sorry
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Dylan: Really close. Go.
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Perfect! Fabulous!
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Hannah: Sorry!
Kansas: Is it grape?
Hannah: I don't know it's like Virginia Tobacco
Kansas: Oh
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♫ Glamarus Trailer ♫
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I think all of my films have left me a changed person.
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I actually made this one movie called Wakers that traumatized me a little bit
247
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because it sort of was a parallel of what was going on in my life.
248
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It was about drug addiction and it was about depression
249
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and it was about feeling controlled and disconnected from your own reality
250
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and sort of in this grey world where people sort of apathetically interact with you but not in a genuine way
251
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and that film sort of almost foretold some kind of unfortunate things that would happen to both me and my friends
252
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and I think I made it at a time in a lot of my friend's lives
where they were actually very unhappy and I was unhappy and anxious and upset
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and I think when the film came out it was both sort of cathartic and terrifying because I was
sort of watching my own nightmare that I had put on to screen
254
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and to a degree, all of my films are some sort of amalgamation of my fears and my dreams
and my desires and my thoughts on the world
255
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as I feel any film should be
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I feel that most good films you see a bit of yourself in if you connect with it
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My movie Dark Prism was also kind of about being disconnected and
changing one's self and I have a lot of religious iconography in my films
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because I've connected a lot in my life with various spiritual ideas and religious ideas
which I tend to keep kinda private but express through my art
259
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I can kind of almost measure who I was as a person at the time by looking at what film I was making.
260
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That's how powerful they are as pieces of my own identity.
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♫ Dylan Greenberg - Reasons ♫
♪ These are the reasons why I can't get you out of my mind ♪
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♪ Get you out of my head ♪
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♪ Get you out of my mind ♪
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♪ Get you out of my ♪
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Glitter: I feel like Dylan's like presence and personality influence my art more than anything
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because I'm pretty literal and draw a lot of pictures for her
I feel like I paint her quite a bit
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I don't know she embodies a lot of the things that I
prize and want to elevate
268
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I feel like her methods and her attitude towards making it work
and making it happen has been helpful in kinda reigniting
269
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some of my projects and goals and kind of
evaluating what I wanted to do and what I didn't want to work on at the moment
and where I wanted to put my energy
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I don't know how much of my art influences hers
I feel like she has a really strong vision for what she does
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A few months after we started dating I curated an art show
and she did an installation within that that featured the both of us and video of us
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I mean I was thinking today about just like
what a kind of pure and passionate person Dylan is
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and I feel like there's a lot of people who with age and time become very like
callous and like kind of dead-end versions of themselves
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and I don't think that's... I've never witnessed that in Dylan
I don't know.
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Her emotions are in like a very pure place that a lot of peoples arent and I think it gives her art this very pure fairytale quality
that is lacking in a lot of content that is trying to be something
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trying to be stylish or gritty or real
or um appealing
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and I feel that Dylan isn't fueled by that.
Her art and herself aren't like that.
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Also that how she is as a person is very pure
and very unfeathered by I think a lot of the embarrassment
279
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and just like dullness that people carry with them
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So... I really appreciate that as someone who can find myself shrinking back into myself
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I really appreciate that she is so vibrant and unafraid to be passionate and emotional
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and like fully amused and like loud
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and things that most people are always trying to keep down and suppress.
284
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So... mostly that.
285
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*Sirens from outside the apartment*
286
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Dylan: All of my actors are dropping out of my movie… for good reason.
287
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The weather is terrible.
We've probably lost our location because I don't want anyone to die if we're shooting in the middle of the woods.
288
00:33:16,916 --> 00:33:18,541
Uh yeah.
289
00:33:20,875 --> 00:33:28,041
Someone is like "I'm not sure if I'm coming tomorrow because I don't know"
So that means they're not coming.
290
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If someone is not sure that means they're not coming.
291
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So yeah I've pretty much got hopefully 2 cast members?
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But it might end up being 0 cast members in which case I will have to improvise
which will be very interesting and um I'm pretty upset.
293
00:33:53,750 --> 00:33:56,583
Pretty upset because this is how its been going for me recently.
294
00:33:57,875 --> 00:34:02,875
It's really discouraging.
Really discouraging.
295
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I'm just making phone calls up the ass right now.
I don't think anyone is around. I don't think anyone can do it.
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No one who is supposed to be in the film is getting back to me
so yeah let's see what happens tomorrow.
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Maybe it will be great. Maybe everything will have a way of working out.
298
00:34:26,250 --> 00:34:32,791
Maybe it'll fucking completely fall apart but no matter what the show must go on.
299
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*intense scream*
300
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And cut.
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Today we are shooting a fight scene that was supposed to be with a bunch of people
and is instead just between me, Wayne, and Jesse's character.
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Jesse: Action.
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♫ Faith - Korpx ♫
Dylan: How was that?
304
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Oh my god, you're watching me die oh my god fuck.
305
00:35:16,500 --> 00:35:17,750
Wayne: This is fucking really great.
306
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Jesse: Rolling. 3 2 1 Action.
307
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Wayne: Fuck yeah.
308
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Dylan: Okay cut. I think that was good. Maybe we should get another angle?
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That was great. Whatever you got there was great.
310
00:35:46,875 --> 00:35:49,166
I think you should actually hit me with the guitar.
311
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I guess Jesse you should be sort of in the general same area where Glitter is?
312
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Otherwise, you'll be on camera.
313
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Yeah, and I'm gonna go flying this way.
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Glitter: Okay
315
00:36:10,833 --> 00:36:15,666
Dylan: Fuck Jesse. Fuck.
Wayne: What?
Dylan: Was Jesse in the shot?
316
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Jesse: I was definitely in the shot.
317
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Dylan: Fuck! Are you kidding man? Fuck!
318
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Glitter: It's okay.
319
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Dylan: Fuck.
320
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Wayne: That was awesome.
321
00:36:23,791 --> 00:36:25,458
Dylan: I don't know if I can do that again.
322
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Dylan: First part of Jesse's fight scene now were following his plan okay?
323
00:36:48,750 --> 00:36:51,791
Okay cut and it's the same thing from this.
324
00:36:55,291 --> 00:37:00,291
Okay and... Action.
325
00:37:03,500 --> 00:37:04,958
Okay great. What's the next part?
326
00:37:06,333 --> 00:37:09,916
Yeah maybe act like you're talking and we'll dub some shit in later.
327
00:37:09,916 --> 00:37:12,166
Wayne: You must understand!
328
00:37:17,500 --> 00:37:18,875
Dylan: Perfect!
329
00:37:19,291 --> 00:37:21,666
Okay cool. And the flying. Let's do that now.
330
00:37:26,708 --> 00:37:29,625
♫ A monster - Daniel H. ♫
331
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You don't need boatloads of cash or the best gear or the best stuff to make a good movie.
332
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I know tons of people who have all the best equipment and all the best gear but they never do anything with it.
333
00:37:46,791 --> 00:37:55,291
I know some people who have a camcorder from like 1998 and they've done incredible work.
334
00:37:55,291 --> 00:38:05,375
You know? I'd rather see a masterpiece shot on an iPhone than a boring piece of garbage shot on a RED Dragon.
335
00:38:06,708 --> 00:38:12,666
You really don't need the best gear or the best anything.
336
00:38:12,666 --> 00:38:18,875
It's all about your vision and what you have in here.
36379
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